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This August, Paramount+ is bringing you a lot of entertainment with the highly anticipated streaming release of the biographical film Bob Marley: One Love and a very weird but humorous and heartfelt film Sasquatch Sunset, which follows the daily lives of a Sasquatch family. However, for the purposes of this article, we are only including the films that are coming to Paramount+ this month and have a 90% or higher Rotten Tomatoes score. So, check out the 10 best films that are coming to Paramount+ in August 2024 with a 90% or higher Rotten Tomatoes score.

Airplane! (August 1)

Airplane! is a disaster absurdist comedy film written and directed by Jim Abrahams, David, and Jerry Zucker. Based on the 1957 drama film Zero Hour! by Arthur Hailey, Hall Bartlett, and John Champion, the 1980 film follows Ted Striker, a former pilot with a fear of flying as he finds himself in the impossible situation of landing a...

Gus Van Sant’s 1995 satirical black comedy To Die For begins in the midst of a news frenzy: Larry Maretto (Matt Dillon), a well-liked man who helped his family run their small-town Italian restaurant, has been murdered and his wife, Suzanne (Nicole Kidman), has been arrested as a suspect. The rest of the film, which blends mockumentary talking heads and flashbacks of the characters’ lives, sends up the contemporaneous sensationalism of high-profile criminal trials like those of O.J. Simpson and the Menendez brothers. By showing the murder upfront, the film, written by the late Buck Henry, proceeds as a rebuke to the public’s fascination with whodunit by psychoanalyzing an already apprehended party.

Yet from the moment we first see Suzanne speaking directly into the camera in an interview, we need not spend too much time unpacking her psychological state. Perfectly coiffed and dressed in tones not quite bright enough to outshine her wide,...

30. Sense and Sensibility

Directed by: Ang Lee

Ang Lee has gone in about eight different directions in terms of genre. His resume includes “The Ice Storm,” “Crouching Tiger, Hidden Dragon,” Hulk,” “Brokeback Mountain,” “Life of Pi,” and this delightful Jane Austen adaptation, starring Emma Thompson, Hugh Grant, Alan Rickman, and young Kate Winslet. “Sense and Sensibility” took home the Oscar for Adapted Screenplay for the story of the Dashwood family, a mother widowed and left in difficult circumstances after her husband has left his fortune to his first wife, instead of his current one. So Mrs. Dashwood (Gemma Jones) and her daughters Fanny, Marianne, and Elinor (Harriet Walter, Winslet, Thompson) have to find a way to survive in a world ruled by men and the rules that seem to create obstacle after obstacle for them. Unfortunately, given the era, they are viewed as “unmarryable,” since they have no fortune and no prospects.

The lineup for the Cannes sidebar Critics Week ends a three-year absence of American movies with Milwaukee, Minnesota, the debut film from talent agent turned director Allan Mindel, among the seven competing titles this year, organizers announced today. The film is about a geeky guy whose amazing talent to hear fish underwater has earned him a small fortune that others would like to get their hands on. It stars Troy Garity, Allison Folland and Randy Quaid. Under director Claire Clouzet, the 42nd edition of Cannes' oldest sidebar is made up almost exclusively of world premieres. These include 20h17, Rue Darling, directed by Bernard Emond of Canada, about a man probing the former lives of six neighbors who died in a fire as a way of understanding why he was not among them, and Reconstruction, from Danish director Christoffer Boe, a psychological romantic drama about a man who puts his faith in love in order to have a future. Other titles in the main section are Elle est des notres (She's One of Ours), directed by France's Siegrid Alnoy; Deux Fereshte (Two Angels), by Mamad Haghighat of Iran; Entre Ciclones (Between Cyclones), from Cuban documentary maker and critic Enrique Colina; and Depuis qu'Otar est parti (Since Otar Left), a Franco-Belgian co-production directed by another documentary maker, Julie Bertuccelli, set in the Caucasus republic of Georgia.

PARK CITY, Utah -- A competition entrant at Sundance, "All Over Me" boasts two fine lead performances from Alison Folland and Tara Subkoff as a pair of 15-year-olds whose friendship is tested by their own uncertain quests for self-identity and self-expression. Although flecked with perceptive insights into the special friendships that teenage girls develop with each other, the film's skimpy narrative never jells to full dramatic dimension, usually falling flat with pat plottings.

Selected theaters in urban areas are likely to be the only venues that will draw a modicum of moviegoers, essentially young females, to this underdeveloped Fine Line release.

Claude (Folland) and Ellen (Subkoff) spend nearly every waking moment together, usually in Claude's bedroom, talking boys, bands and personal stuff. The band talk usually comes from Claude, who is intent on forming a "girls' band," while Ellen chatters more about guys, preoccupied as she is with impressing a neighborhood hunk (Mark Carter).

It's clear they're more than friends, they're family to each other -- Ellen's parents are divorced and Claude's mother is preoccupied with her new beau. They're soulmates, but like friendships at this adolescent level, they're not in sync on a sexual/social level: Dishy, lithe Ellen is clearly attracting male notice and primping to the max, while plain, frumpy Claude is largely unnoticed by the neighborhood guys and munching to the blues.

The two friends are tugged in different directions and the fact that Ellen's macho male boyfriend is a loutish thug grates noticeably on the good-hearted Claude.

At its most poignant and vital, "All Over Me" paints a realistic picture of the uncertainties and insecurities that characterize the awkward times of adolescence, the transition from girlhood to womanhood when individuality and finding oneself is usually a series of lurches and bounces.

While Claude and Ellen are at a breaking point, essentially over Ellen's foray into bad-boy land, screenwriter Sylvia Sichel has solidly etched the underlying strength of the two girls' bonds and the long-term depth of their friendship. However, the overall scenario is narratively lackluster, largely because the supporting characters are not much more than cardboard-deep.

As the kind-spirited Claude, Folland's performance is a gem, a credible mix of clumsiness with maturity. Subkoff as the desperate-to-please Ellen is similarly strong, a terrific and credible blend of contradictions. Among the supporting cast, Leisha Hailey stands out as a gentle singer whose tender ways touch Claude.

Undeniably, the strength of the film is in the performance, reflective of director Alex Sichel's character-savvy workings; unfortunately, the visualization is less assured, including some tentative camera movements and compositions. Director of photography Joe DeSalvo's sharp shadings, however, are a tonal highlight as are Victora Farrell's character-crisp costumery. Composer Miki Navazio's minimalist, astringent score captures only a side of the girls' friendship and spirit.

ALL OVER ME

Fine Line

Producer Dolly Hall

Director Alex Sichel

Screenwriter Sylvia Sichel

Executive producers Andreas Buhler,

Stephen X. Graham, Nina M. Benton

Director of photography Joe DeSalvo

Production designer Amy Silver

Editor Sabine Hoffmann

Music supervisor Bill Coleman

Composer Miki Navazio

Costume designer Victoria Farrell

Casting Lina Todd

Color/Stereo

Cast:

Claude Alison Folland

Ellen Tara Subkoff

Mark Cole Hauser

Jesse Wilson Cruz

Claude's Mom Ann Dowd

Lucy Leisha Hailey

Luke Pat Briggs

Gus Shawn Hatosy

Don Vincent Pastore

Running time -- 90 minutes

MPAA Rating: R...